Produced on the occasion of the exhibition Jef Geys: Painting Clouds at Micheline Szwajcer, Brussels, 11 December, 2015–23 January, 2016

Since the early 1960s, in addition to his interlocking artistic and pedagogical work, Geys was also involved in the production and distribution of a local newspaper, the Kempisch Reklaamblad, on whose pages he began to publish various textual and pictorial material among the advertisements placed therein. After it was discontinued, Geys took over the paper and continued it under his own direction as Kempens Informatieblad.

Functioning as an alternative to the conventional artist catalog, the issues, over 50 in total, were mostly published in connection with his exhibitions. As an information system directed by the artist, it successively developed into a kind of meta-medium within his practice, through which he himself organized his representation and mediation—beyond the exhibition context.

Since the early 1960s, in addition to his interlocking artistic and pedagogical work, Jef Geys was also involved in the production and distribution of a local newspaper, the Kempisch Reklaamblad, on whose pages he began to publish various textual and pictorial material among the advertisements placed therein. After it was discontinued, Geys took over the paper and continued it under his own direction as Kempens Informatieblad.

Functioning as an alternative to the conventional artist catalog, the issues, over 50 in total, were mostly published in connection with his exhibitions. As an information system directed by the artist, it successively developed into a kind of meta-medium within his practice, through which he himself organized his representation and mediation—beyond the exhibition context.

Card produced by Musée D’art Moderne et Contemporain, Geneva documenting Elaine Sturtevant’s work from the collection. Beuys La Rivoluzione siamo noi, 1988–1992, Tirage offset couleur, 97.8 × 53.5 cm, éd. 20/21.

The American artist Sturtevant is best known for her repetitions of the works of other artists, which she recreated manually from memory after having seen a piece that intrigued her. These can immediately be identified with the original, but they are not copies. The artists with whose work she engaged include her contemporaries in American Pop—Jasper Johns, Roy Lichtenstein, Claes Oldenburg, James Rosenquist, Andy Warhol and Tom Wesselmann – as well as Marcel Duchamp, Joseph Beuys, Frank Stella, Félix González-Torres, Keith Haring and Anselm Kiefer, among others. Her aim was not to achieve an exact replica, but rather to address notions of authorship, authenticity and originality that would later come to the fore in our own digital age, characterised by the endless circulation and recombination of images.

Announcement card produced on the occasion of an exhibition held at Seriaal bv, Amsterdam, 8 May–5 June, 1976.

*Please note this publication is secondhand and has some traces of previous ownership.

German artist Blinky Palermo has been associated with distinct 20th-century art practices, from Abstraction to Minimalism and Conceptual art. Throughout his brief and influential career—leading all the way up to his untimely death at the age of 33, Palermo executed paintings, objects, installations, and works on paper that mined various contextual and semantic issues at stake in the construction, exhibition and reception of works of art.

“The husband and wife team of Bernd and Hilla Becher began photographing together in 1959. For close to fifty years, they documented architectural forms they collectively referred to as “anonymous sculpture.” Their extensive series of water towers, blast furnaces, coal mine tipples, framework houses of mine workers, and other vernacular industrial architecture—often technologies on the verge of obsolescence—comprise an in-depth study of the intricate relationship between form and function.”—Fraenkel Gallery.